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X-WR-CALNAME:Steve Earle & The Dukes and Los Lobos
BEGIN:VEVENT
UID:71572021-08-26
DTSTART:20210826T230000Z
SEQUENCE:0
TRANSP:OPAQUE
DTEND:20210826T040000Z
LOCATION:31806 Lake View Drive\nSelbyville DE 19975
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=31806 Lake View Drive\nSelb
 yville DE 19975;X-APPLE-RADIUS=49;X-TITLE=31806 Lake View Drive:geo:38.465
 810,-75.112030
GEO:38.465810;-75.112030
SUMMARY:Steve Earle & The Dukes and Los Lobos
CLASS:PUBLIC
DESCRIPTION:About Steve Earle Steve Earle is one of the most acclaimed\nsin
 ger-songwriters of his generation\, a worthy heir to Townes Van\nZandt and
  Guy Clark\, his two supreme musical mentors. Over the course\nof twenty s
 tudio albums\, Earle has distinguished himself as a master\nstoryteller\, 
 and his songs have been recorded by a vast array of\nartists\, including J
 ohnny Cash\, Waylon Jennings\, Joan Baez\, Emmylou\nHarris\, the Pretender
 s\, and more. Earle’s 1986 debut album\,\n​Guitar Town​ \, is now re
 garded as a classic of the Americana\ngenre\, and subsequent releases like
  ​The Revolution Starts...Now\n(2004)\, ​Washington Square Serenade (2
 007)\, and ​TOWNES (2009) all\nreceived Grammy Awards. Restlessly creati
 ve across artistic\ndisciplines\, Earle has published both a novel and a c
 ollection of\nshort stories\; produced albums for other artists\; and acte
 d in films\,\nTV shows and on stage. He currently hosts a radio show for S
 irius XM.\nIn 2019\, Earle appeared in the off-Broadway play ​Samara​ 
 \, for\nwhich he also wrote a score that ​The New York Times described a
 s\n“exquisitely subliminal.” Each year\, Earle organizes a benefit\nco
 ncert for the Keswell School\, which his son John Henry attends and\nwhich
  provides educational programs for children and young adults with\nautism.
    About Los Lobos The journey of Los Lobos began in 1973\,\nwhen David 
 Hidalgo (vocals\, guitar\, and pretty much anything with\nstrings)\, Louie
  Perez (drums\, vocals\, guitar)\, Cesar Rosas (vocals\,\nguitar)\, and Co
 nrad Lozano (bass\, vocals\, guitarrón) earned their\nstripes playing rev
 ved-up versions of Mexican folk music in\nrestaurants and at parties. The 
 band evolved in the 1980s as it tapped\ninto L.A.’s burgeoning punk and 
 college rock scenes. They were soon\nsharing bills with bands like the Cir
 cle Jerks\, Public Image Ltd. and\nthe Blasters\, whose saxophonist\, Stev
 e Berlin\, would eventually leave\nthe group to join Los Lobos in 1984. Ea
 rly on\, Los Lobos enjoyed\ncritical success\, winning the Grammy® for Be
 st Mexican-American\nPerformance for “Anselma” from its 1983 EP …An
 d a Time to\nDance. A year later\, the group released its full-length\, m
 ajor-label\ndebut\, How Will the Wolf Survive? Co-produced by Berlin and
  T Bone\nBurnett\, the album was a college rock sensation that helped Los 
 Lobos\ntie with Bruce Springsteen as Rolling Stone’s Artist of the Year
 . A\nmajor turning point came in 1987 with the release of the Ritchie\nVal
 ens biopic\, La Bamba. The quintet’s cover of Valens’ signature\nsong
  topped the charts in the U.S. and the U.K. Rather than capitalize\non tha
 t massive commercial success\, Los Lobos instead chose to\nrecord La Pist
 ola y El Corazón\, a tribute to Tejano and Mariachi\nmusic that won the 
 1989 Grammy® for Best Mexican-American\nPerformance. That kind of sharp a
 rtistic turn has become Los Lobos’\ntrademark\, serving to both fuel the
  band’s creativity and keep its\nfans engaged. In 1992\, that willingnes
 s to defy expectations led them\nto record Kiko\, an adventurous album pr
 oduced by Mitchell Froom\nthat’s considered by many to be one the band
 ’s very best. Since\nthen\, Los Lobos has continued to deliver daring a
 nd diverse albums\nsuch as Colossal Head (1996)\, Good Morning Aztlán
  (2002)\, The\nTown and the City (2006)\, Tin Can Trust (2010) and G
 ates of\nGold (2015). On top of that\, the band’s live shows never\ndis
 appoint\, as documented on the recent concert recordings Live at\nthe Fil
 lmore (2005) and Disconnected in New York City (2013).\nThrough the yea
 rs\, they’ve managed to keep things interesting with\nunexpected side tr
 ips like an album of Disney songs in 2009\, along\nwith countless contribu
 tions to tribute albums and film soundtracks.\nOne of those – “Mariach
 i Suite” from the 1995 film Desperado\n­– earned the band a Grammy®
  for Best Pop Instrumental\nPerformance. Los Lobos has sold millions of re
 cords\, won prestigious\nawards and made fans around the world. But perhap
 s its most lasting\nimpact will be how well its music embodies the idea of
  America as a\ncultural melting pot. In it\, styles like son\njarocho\, 
 norteño\, Tejano\, folk\, country\, doo-wop\, soul\, R&B\, rock\n
 ’n’ roll and punk all come together to create a new sound that’s\ngr
 eater than the sum of its parts. Venue: Freeman Arts Pavilion.\nPresenter:
  Joshua M. Freeman Foundation.
X-ALT-DESC;FMTTYPE=text/html:About Steve Earle Steve Earle is one of the mo
 st acclaimed singer-songwriters of his generation\, a worthy heir to Towne
 s Van Zandt and Guy Clark\, his two supreme musical mentors. Over the cour
 se of twenty studio albums\, Earle has distinguished himself as a master s
 toryteller\, and his songs have been recorded by a vast array of artists\,
  including Johnny Cash\, Waylon Jennings\, Joan Baez\, Emmylou Harris\, th
 e Pretenders\, and more. Earle’s 1986 debut album\, ​Guitar Town​ \,
  is now regarded as a classic of the Americana genre\, and subsequent rele
 ases like ​The Revolution Starts...Now (2004)\, ​Washington Square Ser
 enade (2007)\, and ​TOWNES (2009) all received Grammy Awards. Restlessly
  creative across artistic disciplines\, Earle has published both a novel a
 nd a collection of short stories\; produced albums for other artists\; and
  acted in films\, TV shows and on stage. He currently hosts a radio show f
 or Sirius XM. In 2019\, Earle appeared in the off-Broadway play ​Samara
 ​ \, for which he also wrote a score that ​The New York Times describe
 d as “exquisitely subliminal.” Each year\, Earle organizes a benefit c
 oncert for the Keswell School\, which his son John Henry attends and which
  provides educational programs for children and young adults with autism. 
   About Los Lobos The journey of Los Lobos began in 1973\, when David Hi
 dalgo (vocals\, guitar\, and pretty much anything with strings)\, Louie Pe
 rez (drums\, vocals\, guitar)\, Cesar Rosas (vocals\, guitar)\, and Conrad
  Lozano (bass\, vocals\, guitarrón) earned their stripes playing revved-u
 p versions of Mexican folk music in restaurants and at parties. The band e
 volved in the 1980s as it tapped into L.A.’s burgeoning punk and college
  rock scenes. They were soon sharing bills with bands like the Circle Jerk
 s\, Public Image Ltd. and the Blasters\, whose saxophonist\, Steve Berlin\
 , would eventually leave the group to join Los Lobos in 1984. Early on\, L
 os Lobos enjoyed critical success\, winning the Grammy® for Best Mexican-
 American Performance for “Anselma” from its 1983 EP …And a Time to 
 Dance. A year later\, the group released its full-length\, major-label de
 but\, How Will the Wolf Survive? Co-produced by Berlin and T Bone Burnet
 t\, the album was a college rock sensation that helped Los Lobos tie with 
 Bruce Springsteen as Rolling Stone’s Artist of the Year. A major turnin
 g point came in 1987 with the release of the Ritchie Valens biopic\, La B
 amba. The quintet’s cover of Valens’ signature song topped the charts 
 in the U.S. and the U.K. Rather than capitalize on that massive commercial
  success\, Los Lobos instead chose to record La Pistola y El Corazón\, 
 a tribute to Tejano and Mariachi music that won the 1989 Grammy® for Best
  Mexican-American Performance. That kind of sharp artistic turn has become
  Los Lobos’ trademark\, serving to both fuel the band’s creativity and
  keep its fans engaged. In 1992\, that willingness to defy expectations le
 d them to record Kiko\, an adventurous album produced by Mitchell Froom t
 hat’s considered by many to be one the band’s very best. Since then\
 , Los Lobos has continued to deliver daring and diverse albums such as Co
 lossal Head (1996)\, Good Morning Aztlán (2002)\, The Town and the Ci
 ty (2006)\, Tin Can Trust (2010) and Gates of Gold (2015). On top of 
 that\, the band’s live shows never disappoint\, as documented on the rec
 ent concert recordings Live at the Fillmore (2005) and Disconnected in 
 New York City (2013). Through the years\, they’ve managed to keep thing
 s interesting with unexpected side trips like an album of Disney songs in 
 2009\, along with countless contributions to tribute albums and film sound
 tracks. One of those – “Mariachi Suite” from the 1995 film Desperad
 o ­– earned the band a Grammy® for Best Pop Instrumental Performance. 
 Los Lobos has sold millions of records\, won prestigious awards and made f
 ans around the world. But perhaps its most lasting impact will be how well
  its music embodies the idea of America as a cultural melting pot. In it\,
  styles like son jarocho\, norteño\, Tejano\, folk\, country\, doo-
 wop\, soul\, R&B\, rock ’n’ roll and punk all come together to crea
 te a new sound that’s greater than the sum of its parts. Venue: Freeman 
 Arts Pavilion. Presenter: Joshua M. Freeman Foundation.
DTSTAMP:20261028T173653Z
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